Six stories from Bidyadanga... (warning - the following contains names and images of deceased peoples)
JD indicates my own words. Other text is copied and referenced.
#1 - Non Indigenous
'Desert Heart', (2008) A documentary by David Batty & Jenny McMahon
JD: After 40 years, the Yulparija people of Bidyadanga are returning to their country for the first time. This emotional documentary follows the journey of a group of elders who were inspired to paint their stories by emerging artist and Bidyadanga local, Daniel Walbidi. Daniel accompanies his relatives on a 4 day trip out to Wirnpa, the Percival Lakes area and witnesses the powerful reunion of his people and their land.
It is difficult not to be moved by this documentary and the undeniable bond that Aboriginal people have with their country is so clearly portrayed. The elders are left with a sense of peace and satisfaction that has been missing in their lives for over 40 years.
Weaver Jack, one of the featured artists is the last of her mob in the film (she has since passed away) and her connection to her country is overwhelming. On approaching her childhood land she shakily says "poor fella, this is my country. I've come back for you old fella. Poor fella. My home". The words are so powerful and it brings her to tears. It really highlights the Indigenous notion of the people being one with the land and not seperate and it adds a whole new element to their artwork.
With DVD and television being such accessible mediums, this format of story telling takes a relatively unknown story to the mainstream thereby supporting the recording of Aboriginal history. Getting footage of Weaver Jack before she passed away is a very valuable resource in the scheme of Indigenous history.
#2 - Indigenous
Painting My Country by Weaver Jack Details Catalog Number : 26548 Size : 60cm x 60cm Medium : acrylic on linen About My Country
Weaver says "this is me, this is mine. The whole lot is me (she points to orange t-shaped mark which depicts her and then across the surface of the painting). I bin walking all around, I know him proper way, he is always with me. We are same one, my country is me." She goes on to say: "this one show the people walking and sit down. Show walking tracks and talis (sand dunes) and jila (living water). The waterholes and warla (mudflats) and trees."
Weaver is a senior Yulparija law woman. Her country is in the Great Sandy Desert of W.A. close to the Percival Lakes. (Short Street Gallery).
JD: Weaver Jack is one of the artists featured in the documentary 'Desert Heart'. This painting has so much more dimension and significance after seeing the film and again she describes the herself and her land as one. She shares the stories of her land through her artworks which have been exhibited interstate and overseas. This kind of exposure adds credibilty to the way in which Aboriginal people share their stories. It is tangible eveidence of an ancient custom. The western world seem to grasp concepts with greater ease when they are tangible and when there is evidence.
Weaver Jack passed away on 6/10/2010.
#3 - Non Indigenous
Web article
(Photo: Daniel Walbidi in front of a Weaver Jack artwork)
Painters will suffer, says art dealer - The Australian http://www.theaustralian.com.au/news/arts/painters-will-suffer-says-art-dealer/story-e6frg8n6-1225876669587
by Ashleigh Wilson
JD: This article gives an interesting perspective with an always popular western focal point; money. A new federal government resale royalty is being introduced and the gallery owners discuss how this may affect their business with Indigenous artists.
The other interesting aspect of this article is that it does not include a perspective or somment from the people it claims it will directly affect. Daniel's picture seems to be a picture only of the topic in discussion, his opinion is not mentioned in the article.
It is common for Aboriginal people to be under-represented in the media, and historically it has also been common for others to comment on their behalf and make decisions 'for their own good'. This kind of reporting gives only one view and in the future, when this is a piece of reporting history, it could not be considered a balanced article.
#4 - Indigenous
Interview with Daniel Walbidi (picture: Sydney Morning Herald)
JD: Daniel Walbidi is the young man from Bidyadanga who inspired the Yulparija people to tell their stories through art and has become a successful artist in his own right. He is currently in Broome working on a new body of art for his next exhibition and he kindly answered a few questions for me.
Q1. The artworks of the Yulparija people tell stories about their country and their lives. Do you believe that there is any true & complete way that those stories can be translated into English words or do words take away from the significance of the story itself, such as the spiritual elements?
DW: I think words aren't necessary for us but they they are for karidya (white people) so they can understand paintings. The paintings are of country and tell that story, many of the stories are based on old stories that are passed down by the spoken word, so they already speak. They are already translated from word to paint. They are a way of remembering.
Q2. In your opinion, do you believe that Aboriginal history is well represented in Australia? If not, how would you like to see it changed?
DW: It hasn't always been but it is starting to be now. I do not know what is taught in other schools but in my school (at the Bidyadnga community) Aboriginal history and language was taught and supported by government agencies. There are a lot of state and national museums and galleries that exist in Australia and internationally that represents Aboriginal culture now. They seem to be mainly dedicated to art though.
Q3. What do you feel is the most significant part of your art?
DW: Going back to country and remembering it. For the me it is learning, for the old people it is reconnecting with country, remembering it. That is why they painted.
These answers were provided to me via email through Daniel's agency, Tahnee Roberts at Short Street Gallery.
JD: Daniel is using traditional methods to learn about the country of his people and their artwork becomes their recording of that history and their way of sharing their stories. This is a part of Daniel's history in his own words.
by Heather Ewart
JD: This report gives a brief history of Father Kevin McKelson's involvement in the Bidyadanga community. In this modern era of many failed attempts at addressing Indigenous challenges, Fr Kevin's work is considered a success and the report includes praise from prominent Kimberley figures Steve Pigram and Patrick Dodson. The 7.30 report is considered a reputable source of news reporting and this interview portrays a mutual regard between Indigenous people and Fr Kevin and his mission and offers several perspectives. It is a positive story which shows how grateful the Indigenous people are that Fr Kevin took such a genuine interest in their life and used the resources available to him to help preserve their culture and record their stories - in their own words.
#6 - Indigenous / Non Indigenous collaboration
Book Nganarna Nyangumarta Karajarrimili Ngurrango: We Nyangumarta in the country of the Karajarri.
Excerpts and field notes in Northern Nyangumarta, as told to and translated by Father McKelson, and assisted by Tommy Dodd 1968-1969.
"The book comes from a diary started in the 1960s by Father McKelson. The diary was a record of discussions and information shared by Elder Tommy Dodd. Tommy was a middle aged man and he told Father McKelson stories about his Nyangumarta language and culture so that McKelson would make a record of the discussions". (Wangka Maya).
JD: This book is provides a comprehensive insight into life and language in the Bidyadnaga community - known then as La Grange Mission. At a time when Aboriginal culture was only just starting to be acknowledged in the rest of Australia, this book shows Father McKelson's remarkable and some what unique dedication to recording the histories of the local people and helping them to preserve their culture and language. The ultimate purpose was still to civilise and convert the people but not at the expense of their culture. His willingness to engage in traditional dialogue led him to speak the 5 languages of Bidyadanga and happily translate his church services.
There are some amazing photos and a genuine interest in the many aspects of traditional life. It is an excellent example of western documented history methods translating from an Indigenous source. It includes much traditional language.
Father Kevin has written many books on life, language, religion and culture in Bidyadanga. Conclusion
Bidyadanga is a diverse community with a rich history now enjoying an international audience through the medium of art. Telling stories through art is an ageless Aboriginal tradition but has been bought to life again by the younger generation, namely Daniel Walbidi, who is passionate and determined to keep his peoples culture alive and the stories remembered.
Bidyadanga has a diverse community of five different clans who were welcomed by the traditional people when they were forced from their own lands of the Great Sandy Desert. This diversity led to a rich culture of many languages and customs. You can see the elders in the film still speaking language very strongly.
The catholic missionaries played a significant role in the lives of the Bidyadanga people. The local people were fortunate in the fact that their was great interest paid to recording their stories and language. The people of Bidyadanga appeared to have a postive experience with the La Grange Mission at a time when many Indigenous people were being severely mistreated.
This article photo of probably the most famous Yulparija artist, Weaver Jack gifting Father Kevin with one of her artworks shows a great collaboration between two cultures grateful for each others contribution to their lives. (Diocese of Broome, 2006).
These six different resources show how by utilising different methods of recording histories and sharing stories cultures are able to enrich one another and make positive contributions through collaboration which also provides different perspectives. Father Kevin's contribution to the preservation of Indigenous languages and culture may well have been a factor in the local people keeping such a strong sense of themselves and a real pride in who they are and where they come from, which may, in turn, have been what gave them the strength to revisit their homelands and start to re-live and re-tell their amazing and important stories.
Father Kevin's methods of recording information and writing books allows for easily accessible information to the mainstream. The local people's methods of telling stories through artwork, provide a medium that crosses cultures because art is so widely received. Also, it seems when Aboriginal history is given the opportunity to be told and recorded in an accessible way, it is very well received. Media reports are not included in this comment, they often have the opposite effect.
I thought the article in the Australian provided a stark contrast in terms of what is considered important in the modern day western world; money, and also the interesting response from the gallery owners. Perhaps their real agendas and priorities were exposed in this article, which could indicate no real focus on the preservation of history & culture, but then again, it's just one person's article!
Being a unit focused on the telling and recording of histories, this assignment left me with some questions to ponder...
Are people buying Aboriginal artwork for the significance of the stories or the aesthetics of the painting?
Are the artists encouraged to keep some of their more important artworks for their communities?
Would their be such an interest in this artwork if it wasn't so attractive in the retail sense?
One thing is certain, we all have our own agendas, our own way of sharing history and our own interpretations. I think stories need the chance to be told and should be told in the medium that the story teller is most comfortable with. There is no right or wrong way.
Reference List
Dodd, Tommy & McKelson Kevin Fr. (2007). Nganarna Nyangumarta Karajarrimili Ngurranga: We Nyangumarta in the country of the Karajarri. South Hedland: Wangka Maya Pilbara Aboriginal Language Centre.
Six stories from Bidyadanga... (warning - the following contains names and images of deceased peoples)
JD indicates my own words. Other text is copied and referenced.#1 - Non Indigenous
'Desert Heart', (2008) A documentary by David Batty & Jenny McMahonJD: After 40 years, the Yulparija people of Bidyadanga are returning to their country for the first time. This emotional documentary follows the journey of a group of elders who were inspired to paint their stories by emerging artist and Bidyadanga local, Daniel Walbidi. Daniel accompanies his relatives on a 4 day trip out to Wirnpa, the Percival Lakes area and witnesses the powerful reunion of his people and their land.
It is difficult not to be moved by this documentary and the undeniable bond that Aboriginal people have with their country is so clearly portrayed. The elders are left with a sense of peace and satisfaction that has been missing in their lives for over 40 years.
Weaver Jack, one of the featured artists is the last of her mob in the film (she has since passed away) and her connection to her country is overwhelming. On approaching her childhood land she shakily says "poor fella, this is my country. I've come back for you old fella. Poor fella. My home". The words are so powerful and it brings her to tears. It really highlights the Indigenous notion of the people being one with the land and not seperate and it adds a whole new element to their artwork.
With DVD and television being such accessible mediums, this format of story telling takes a relatively unknown story to the mainstream thereby supporting the recording of Aboriginal history. Getting footage of Weaver Jack before she passed away is a very valuable resource in the scheme of Indigenous history.
#2 - Indigenous
PaintingMy Country by Weaver Jack
Details
Catalog Number : 26548
Size : 60cm x 60cm
Medium : acrylic on linen
About My Country
Weaver says "this is me, this is mine. The whole lot is me (she points to orange t-shaped mark which depicts her and then across the surface of the painting). I bin walking all around, I know him proper way, he is always with me. We are same one, my country is me." She goes on to say: "this one show the people walking and sit down. Show walking tracks and talis (sand dunes) and jila (living water). The waterholes and warla (mudflats) and trees."
Weaver is a senior Yulparija law woman. Her country is in the Great Sandy Desert of W.A. close to the Percival Lakes. (Short Street Gallery).
JD: Weaver Jack is one of the artists featured in the documentary 'Desert Heart'. This painting has so much more dimension and significance after seeing the film and again she describes the herself and her land as one. She shares the stories of her land through her artworks which have been exhibited interstate and overseas. This kind of exposure adds credibilty to the way in which Aboriginal people share their stories. It is tangible eveidence of an ancient custom. The western world seem to grasp concepts with greater ease when they are tangible and when there is evidence.
Weaver Jack passed away on 6/10/2010.
#3 - Non Indigenous
Web article(Photo: Daniel Walbidi in front of a Weaver Jack artwork)
Painters will suffer, says art dealer - The Australian http://www.theaustralian.com.au/news/arts/painters-will-suffer-says-art-dealer/story-e6frg8n6-1225876669587
by Ashleigh Wilson
JD: This article gives an interesting perspective with an always popular western focal point; money. A new federal government resale royalty is being introduced and the gallery owners discuss how this may affect their business with Indigenous artists.
The other interesting aspect of this article is that it does not include a perspective or somment from the people it claims it will directly affect. Daniel's picture seems to be a picture only of the topic in discussion, his opinion is not mentioned in the article.
It is common for Aboriginal people to be under-represented in the media, and historically it has also been common for others to comment on their behalf and make decisions 'for their own good'. This kind of reporting gives only one view and in the future, when this is a piece of reporting history, it could not be considered a balanced article.
#4 - Indigenous
Interview with Daniel WalbidiJD: Daniel Walbidi is the young man from Bidyadanga who inspired the Yulparija people to tell their stories through art and has become a successful artist in his own right. He is currently in Broome working on a new body of art for his next exhibition and he kindly answered a few questions for me.
Q1. The artworks of the Yulparija people tell stories about their country and their lives. Do you believe that there is any true & complete way that those stories can be translated into English words or do words take away from the significance of the story itself, such as the spiritual elements?
DW: I think words aren't necessary for us but they they are for karidya (white people) so they can understand paintings. The paintings are of country and tell that story, many of the stories are based on old stories that are passed down by the spoken word, so they already speak. They are already translated from word to paint. They are a way of remembering.
Q2. In your opinion, do you believe that Aboriginal history is well represented in Australia? If not, how would you like to see it changed?
DW: It hasn't always been but it is starting to be now. I do not know what is taught in other schools but in my school (at the Bidyadnga community) Aboriginal history and language was taught and supported by government agencies. There are a lot of state and national museums and galleries that exist in Australia and internationally that represents Aboriginal culture now. They seem to be mainly dedicated to art though.
Q3. What do you feel is the most significant part of your art?
DW: Going back to country and remembering it. For the me it is learning, for the old people it is reconnecting with country, remembering it. That is why they painted.
These answers were provided to me via email through Daniel's agency, Tahnee Roberts at Short Street Gallery.
JD: Daniel is using traditional methods to learn about the country of his people and their artwork becomes their recording of that history and their way of sharing their stories. This is a part of Daniel's history in his own words.
#5 - Non Indigenous
ABC 7.30 ReportCommunity pay tribute to priest http://www.abc.net.au/7.30/content/2010/s2856437.htm#
by Heather EwartJD: This report gives a brief history of Father Kevin McKelson's involvement in the Bidyadanga community. In this modern era of many failed attempts at addressing Indigenous challenges, Fr Kevin's work is considered a success and the report includes praise from prominent Kimberley figures Steve Pigram and Patrick Dodson. The 7.30 report is considered a reputable source of news reporting and this interview portrays a mutual regard between Indigenous people and Fr Kevin and his mission and offers several perspectives. It is a positive story which shows how grateful the Indigenous people are that Fr Kevin took such a genuine interest in their life and used the resources available to him to help preserve their culture and record their stories - in their own words.
#6 - Indigenous / Non Indigenous collaboration
Book
Nganarna Nyangumarta Karajarrimili Ngurrango: We Nyangumarta in the country of the Karajarri.
Excerpts and field notes in Northern Nyangumarta, as told to and translated by Father McKelson, and assisted by Tommy Dodd 1968-1969.
"The book comes from a diary started in the 1960s by Father McKelson. The diary was a record of discussions and information shared by Elder Tommy Dodd. Tommy was a middle aged man and he told Father McKelson stories about his Nyangumarta language and culture so that McKelson would make a record of the discussions". (Wangka Maya).
JD: This book is provides a comprehensive insight into life and language in the Bidyadnaga community - known then as La Grange Mission. At a time when Aboriginal culture was only just starting to be acknowledged in the rest of Australia, this book shows Father McKelson's remarkable and some what unique dedication to recording the histories of the local people and helping them to preserve their culture and language. The ultimate purpose was still to civilise and convert the people but not at the expense of their culture. His willingness to engage in traditional dialogue led him to speak the 5 languages of Bidyadanga and happily translate his church services.
There are some amazing photos and a genuine interest in the many aspects of traditional life. It is an excellent example of western documented history methods translating from an Indigenous source. It includes much traditional language.
Father Kevin has written many books on life, language, religion and culture in Bidyadanga.
Conclusion
Bidyadanga is a diverse community with a rich history now enjoying an international audience through the medium of art. Telling stories through art is an ageless Aboriginal tradition but has been bought to life again by the younger generation, namely Daniel Walbidi, who is passionate and determined to keep his peoples culture alive and the stories remembered.
Bidyadanga has a diverse community of five different clans who were welcomed by the traditional people when they were forced from their own lands of the Great Sandy Desert. This diversity led to a rich culture of many languages and customs. You can see the elders in the film still speaking language very strongly.
The catholic missionaries played a significant role in the lives of the Bidyadanga people. The local people were fortunate in the fact that their was great interest paid to recording their stories and language. The people of Bidyadanga appeared to have a postive experience with the La Grange Mission at a time when many Indigenous people were being severely mistreated.
This article photo of probably the most famous Yulparija artist, Weaver Jack gifting Father Kevin with one of her artworks shows a great collaboration between two cultures grateful for each others contribution to their lives. (Diocese of Broome, 2006).
These six different resources show how by utilising different methods of recording histories and sharing stories cultures are able to enrich one another and make positive contributions through collaboration which also provides different perspectives. Father Kevin's contribution to the preservation of Indigenous languages and culture may well have been a factor in the local people keeping such a strong sense of themselves and a real pride in who they are and where they come from, which may, in turn, have been what gave them the strength to revisit their homelands and start to re-live and re-tell their amazing and important stories.
Father Kevin's methods of recording information and writing books allows for easily accessible information to the mainstream. The local people's methods of telling stories through artwork, provide a medium that crosses cultures because art is so widely received. Also, it seems when Aboriginal history is given the opportunity to be told and recorded in an accessible way, it is very well received. Media reports are not included in this comment, they often have the opposite effect.
I thought the article in the Australian provided a stark contrast in terms of what is considered important in the modern day western world; money, and also the interesting response from the gallery owners. Perhaps their real agendas and priorities were exposed in this article, which could indicate no real focus on the preservation of history & culture, but then again, it's just one person's article!
Being a unit focused on the telling and recording of histories, this assignment left me with some questions to ponder...
One thing is certain, we all have our own agendas, our own way of sharing history and our own interpretations. I think stories need the chance to be told and should be told in the medium that the story teller is most comfortable with. There is no right or wrong way.
Reference List
Dodd, Tommy & McKelson Kevin Fr. (2007). Nganarna Nyangumarta Karajarrimili Ngurranga: We Nyangumarta in the country of the Karajarri. South Hedland: Wangka Maya Pilbara Aboriginal Language Centre.
ABC 7.30 Report. (2010). Community pay tribute to priest. Retrieved from http://www.abc.net.au/7.30/content/2010/s2856437.htm
Diocese of Broome. (2006). La Grange Bidyadanga farewells Father McKelson. Kimberley Community Profile. Issue 4, page 11.
McMahon, Jenni. (Producer). (2008). Desert Heart [DVD]. Available from http://www.rebelfilms.com.au/desert-heart.html
Roberts, Tahnee. (2011). Interview with Daniel Walbid, via email reply from Short Street Gallery.
Short Street Gallery. (n.d) Details of My Country. Retrieved from http://www.shortstgallery.com.au/artworks/26548/my-country.html
Sydney Morning Herald. (2008). Heart of our country. Retrieved from http://www.smh.com.au/news/tv--radio/heart-of-our-country/2008/03/15/1205472146770.html
Wangka Maya Pilbara Aboriginal Language Centre. (n.d) New Nyangumarta book. Retrieved from http://www.wangkamaya.org.au/index.php?option=com_content&view=article&id=195:new-nyangumarta-book&catid=1:latest&Itemid=389
Wilson, Ashleigh. (2010, June 8). Painters will suffer, says art dealer. The Australian. Retrieved from http://www.theaustralian.com.au/news/arts/painters-will-suffer-says-art-dealer/story-e6frg8n6-1225876669587